The mutual connection between the character of the hero and his actions. Operational means of developing skills of understanding another person by primary schoolchildren

Outlining ways to improve primary education, N.K. Krupskaya wrote: “We tell the school a lot about observations of natural phenomena, social phenomena, we do not pay due attention to observations of living people, their relationships. And yet they are of great importance." Our analysis of psychological and pedagogical literature confirms the validity of N.K. Krupskaya’s idea that already in primary education Students must move from inadvertently perceiving other people to the deliberate activity of observing another person's inner world.

However, internal to this study was the analysis of textbooks on literary reading for 3rd and 4th grades secondary school with Russian language of instruction. The analysis was carried out according to the following parameters:

1) Identification of texts representing the emotional state of a person in various life situations;

2) Analysis of questions to these texts from the point of view of the focus on observing the state of another, on the development of the student’s empathic and reflective abilities;

3) Analysis of assignment topics creative nature, tasks for independent work requiring an explanation of the reasons for the behavior of another.

So, analyzing the 3rd grade textbook, it should be noted that everything literary works, intended for reading, are grouped into 5 sections:

1) Gold, gold is a popular word...

2) The line does not fade over the centuries...

3) I’ll tell you about what I saw and heard...

4) I have been friends with rhymes since childhood...

5) My friend, I dedicate the best time to you.

Each of these sections contains fairy tales, stories and essays that tell about people and represent their emotional states in various life situations.

So, for example, such tales as “The Uncourteous Son”, “Paradise Unknown”, “The Tale of the Priest and His Worker Balda” by A.S. Pushkin, “The Forest Dwarf” by Selma Lagerlöf, “The Legend of Mothers” by Ivan Pankin; stories - " Mishkina porridge"N. Nosova, "Topsy-Turvy" by V. Dragunsky, "I Will Never Forget Him" ​​by S. Wolf, "Bad Comrade" by Dm. Mamin-Sibiryak, "Theme and the Bug" by N. Garin-Mikhailovsky, "Shark", " The Learned Son,” “The Man and the Merman” by L. Tolstoy, “Mustache and Piglets” by B. Zakhoder, “How Pippi settled in the Villa “Chicken” by A. Lingren.

Acquaintance with the above works confirms our previously noted idea that with the help work of art You can find out everything about a person: complete harmony between the world and the individual, merging with nature, the happiness of love and discovery, or, conversely, discord with the world, disharmony of the soul. In addition, the individual not only enriches his knowledge and ideas about a person, but also reflects, worries, and analyzes the goals and motives of the actions of the acting characters.

However, this raises the question of whether these works are sufficient to form a junior schoolchildren focus on another, the desire to recognize the characters and actions of people. For this purpose, the author carried out a quantitative processing of the content of the textbook. During which it was found that texts representing a person in various life situations make up only 17% of the total content of the book, while stories of a scientific-educational nature and texts about nature make up 83% of the works of art presented in the textbook.

The author of the work also analyzed the questions posed to these texts. It turned out that methodologists paid insufficient attention to this area, since the system of questions for each text aimed at clarifying emotional state, the motives of a person’s behavior, the assessment of his actions includes, as a rule, only 1-2 questions. The table below allows you to observe this situation on specific examples.

Table 1.

So, comparing the content of the texts listed in the table with the questions posed to them, it should be noted that these works of art are rich in human history knowledge, but the proposed questions do not allow younger schoolchildren to master them. More full analysis the content of the above questions allowed the author of the work to conditionally divide them into three groups. These are the questions that form:

1. the ability to evaluate the hero;

2. the ability to understand the reasons for the characters’ actions;

3. the ability to determine the consequences of the characters’ actions.

Examples of questions belonging to the first group include questions such as:

Determine the main character traits of the hero (A. Tolstoy “Shark”)

How did Harald appear to you? Describe it (“Unknown Paradise” Swedish folk tale)

Did you like the narrator? Can we call him a positive hero? (N. Nosov “Mishkina porridge”)

Does Neptune's external description match his internal world? Why do you think so? (I. Pankin “The Legend of Mothers”)

The formation of the ability to understand the reasons for actions is facilitated by a system of questions such as:

What and why did mothers sacrifice for their sons? (I. Pankin “The Legend of Mothers”)

Why did the father say to Kolya: “Look at the portrait of the worst friend?” (Dm. Mamin-Sibiryak “Bad Comrade”)

Think about why the old artilleryman fell and covered his face with his hands? (L. Tolstoy “Shark”)

Why did Vasya want to be a brute, a grated roll, a shot sparrow? (Yu. Koval “Mustache and Piglets”)

And the third group of questions includes questions of such a nature as:

Did your attitude towards the hero of the story change as you read? Why? (S. Wolf “I will never forget him”)

When did you worry? When were you happy? (N. Garin-Mikhailovsky “Theme and the Bug”).

The next parameter by which the textbook was analyzed was the analysis of the topics of assignments for independent work. Examples of such tasks are:

1. Tell us what kind of drawings you would make for the fairy tale (“The Discourteous Son.” Belarusian folk tale).

2. Compose a description of Nils based on the passage you read.

A) Appearance;

b) Character traits;

c) Nils’ actions;

d) The mutual connection between the character of the hero and his actions;

e) Your attitude towards the hero (Selma Lagerlöf “Forest Dwarf”)

3. Write a letter that Nils could send to his mother from his trip (Selma Lagerlöf “The Forest Gnome”).

4. Choose definitions for the word mother (I. Pankin “The Legend of Mothers”).

6. What proverbs would you use to characterize the hero? (Dm. Mamin-Sibiryak “Bad Comrade”).

7. Retell the story on behalf of the hero (Dm. Mamin-Sibiryak “Bad Comrade”).

8. Make drawings for each part. Sign with words from the text and make a filmstrip (Yu. Koval “Mustache and Piglets”).

9. Come up with your own story that could happen to Pippi (Astrid Lindgren “How Pippi settled in the Chicken Villa”).

10. Come up with your own version of the continuation of the story. What new heroes will appear in it? What will they do? (E. Uspensky “The fur boarding school opens”).

So, based on the above, it is not difficult to notice that the textbook for reading in the 3rd grade has a small amount creative tasks, tasks for independent work (about ten), which can help primary schoolchildren develop skills in understanding another person. In addition, it should be noted that these tasks are unevenly distributed across lessons. The textbook is dominated by texts that are devoid of creative tasks (“Paradise Unknown” is a Swedish folk tale, “The Tale of the Priest and His Worker Balda” by A.S. Pushkin, “Mishkina Porridge” by N. Nosov, “Topsy-Turvy” by V. Dragunsky , “Shark” by L. Tolstoy, etc.), as a result of which it is impossible to talk about the thematic development of skills of understanding another person by younger schoolchildren. Thus, we can draw the following conclusion: a textbook on literary reading for the 3rd grade contains an insufficient number of works of art, rich human knowledge, and, accordingly, a poorly developed system of questions, creative tasks and tasks for independent work. An exception is Selma Lagerlöf’s fairy tale “The Forest Gnome,” which offers a more extensive list of questions and creative tasks aimed at clarifying the emotional state, motives of the hero’s behavior, and assessing his actions. These are questions such as:

Did you feel the writer’s attitude towards her hero? What is it like?

What was Nils like before the incident?

What actions of the boy indicate his cruelty?

Did Nils regret his evil actions?

Can we say that Nils was lazy?

Determine the main character traits of the hero.

How did Nils feel after turning into a little man?

The following tasks are offered for independent work:

1. Write a characterization of Nils based on the passage you read.

a) Appearance.

b) Character traits.

c) Nils' actions.

d) The mutual connection between the character of the hero and his actions.

d) Your attitude towards the hero.

2. Write a letter that Nils could send to his mother from the trip.

Similar to the above analysis, the author of the thesis studied a textbook on literary reading for the 4th grade. As a result, it was found that the number of works of art containing human knowledge is only 10% of general content textbook.

Examples of such texts are: “The Ravens of Ut-Rest” - a Norwegian legendary tale, “Boy Star” by O. Wilde, “Neither in Front nor in Black” by K. Chukovsky, “Country of Volcanic Origin” by L. Kassil, “Childhood of Nikita” by A .Tolstoy, “Birthday” by G. Skrebitsky. The system of questions aimed at identifying the emotional state of the characters and the list of creative tasks that require an explanation of the reasons for the behavior of another remain insufficiently developed, as in the previous class. To confirm this, the author of the work suggests familiarizing yourself with the table below and the content of creative tasks.

Table 2.

Creative tasks:

1. continue friend - this is... (Norwegian legendary tale “The Ravens of Ut-Rest”);

2. come up with a continuation of the fairy tale; read the fairy tale and compare your version with the author’s (O. Wilde “Star Boy”);

3. retell the text on behalf of Timosha (K. Chukovsky “Neither in front nor in black”);

4. tell us about your closest friend (K. Chukovsky “Neither in front nor in black”).

Thus, summing up all of the above, it should be noted that textbooks on literary reading for the 3rd and 4th grades contain an insufficient number of works of art rich in human knowledge. The system of questions and assignments for independent work aimed at developing the student’s empathic and reflective abilities is also insufficiently developed. It should also be noted that the volume of this material does not increase when moving from class to class, but, on the contrary, decreases. If in the textbook for the 3rd grade stories and tales about people made up 17% of the total content, then in the 4th grade this figure dropped to 10%, which, in turn, once again confirms the idea of ​​N.K. Krupskaya that what's at school great attention is devoted to observations of nature, and not of living people and their relationships.

Lesson objectives:

• consider the hero of a fairy tale, the manifestation of his character in actions and speech, the development of character over time;
• develop independence in reading, the ability to express judgment about what is read.

Place this lesson in the system of lessons on this topic: the third lesson in the system of lessons on studying Selma Lagerlöf’s fairy tale “Nils’s Wonderful Journey with the Wild Geese.”

Equipment and teaching aids used:

Churakova N.A. textbook “Literary Reading”, ICT: excerpts from the cartoon “Enchanted Boy”, children’s drawings for a fairy tale story, portraits of L.N. Tolstoy, Selma Lagerlöf.

I. Updating knowledge.

Teacher: What was your homework?

Children: Draw illustrations on the topic “How I imagine Nils” for excerpts from a fairy tale.

Teacher: Look at the drawings of your comrades. Why do you think I asked you to draw illustrations for different passages of Selma Lagerlöf’s story at home?

Children: So that you can observe how the image of the main character in a fairy tale changes.

– To understand how Nils’ character changes over time.

- To understand the meaning of this work.

Teacher: What is the name of the chapter of the textbook where the fairy tale “Nils’s Wonderful Journey with the Wild Geese” is placed?

Children: “How difficult it is to become human.”

Children find it difficult to answer.

Teacher: Do you understand the meaning of the chapter title? After all, Nils was born a man. Does someone who was born human also need to become human?

Children: To become a human means to become a good person, a real person.

Teacher: Is Martin right when he told Akka about Nils: “You can’t even call him a human being”?

Children: Judging by his past actions, he cannot be called a human being. In addition, Nils is too short to be considered a human and pose any danger to the pack.

Teacher: Read the epigraph to the chapter (p. 38). Let's clarify who Grigory Gorin is? Do you know such films as “An Ordinary Miracle”, “That Same Munchausen”? The scripts for these films were written by a famous Russian playwright, who died quite recently, Grigory Gorin.

– How do you guys understand the meaning of the epigraph? What does it mean to become even more alive? Is it possible?

Children: The writer means the awakening of his soul in a person, a person can “see the light”, become more sensitive towards other people, towards the world around him.

Teacher: How many of you can address these words to yourself?

Children raise their hands.

Teacher: How will this manifest itself?

Children: In helping animals, nature, loved ones and acquaintances.

Teacher: Which of the literary heroes you know can be attributed to the words of Grigory Gorin?

Children: To Nils.

Teacher: Now let’s start working on each chapter separately in order to trace how Nils’ character manifested itself and changed over time in his actions and speech.

– How can we better organize work in class in order to have time to analyze all the chapters that we read together?

Children: Work in groups.

Teacher: Okay, I'm glad that you learned how to save study time and know a very good way to do it. How many groups can there be?

Children: How many groups drew illustrations, so many chapters will be analyzed-4. (6 people in each group.)

All groups receive cards with tasks: consider the hero of a fairy tale, the manifestation of his character in actions and speech in different passages.

Children work for 5-7 minutes, after which the discussion begins. Everything the guys say about Nils is proven in the text. The main character traits of the hero are written down in literary reading notebooks, indicating the page number for reading confirmation of this trait.

Implementation of the requirements of the new Federal State Educational Standard:

Teacher: Before we start discussing the main character, let's see how Nils appears to us at the very beginning (viewing a cartoon excerpt).

Teacher: Let’s listen to the guys of group 1 (manifestation of Nils’ character in actions and speech in excerpt 1, pp. 38-42)

Children name character traits and read the corresponding passages from the story.

Mischievous, absent-minded, careless, lazy, hooligan, impatient, restless – p.38.

Liar, ignoramus, curious – p.39.

Smart, quick-witted – p.40.

Bully, cunning, resourceful, careful, ruthless - p.41.

Greedy, selfish – p.42.

Group 2 of children analyzes the passage on pp. 42-47.

Liar – p.43.

Obedient, persistent, purposeful, bully, touchy – p.43.

Trusting, smart, shrewd, cowardly – ​​p.44.

A bully, he offended everyone weaker than him, polite - p. 45.

Flattering, heartless – p.46.

Proud – p.47.

Group 3 of children analyzes the passage on pp. 47-55.

Caring, fearless, desperate – p.48.

Compassionate, affectionate – p.49.

Tenacious, hardy, attachment to his home – p.50.

Caring, decisive, grateful, knows how to adapt to new living conditions - p.51.

Thrifty – p.52.

Impatient, open, knows how to come to terms with circumstances – p.54.

He knows how to get used to a life that is alien to him - p.55.

Group 4 of children analyzes the passage on pp. 55-60.

Hardy, courageous, courageous, fair, courageous, quick-witted, dexterous - p.56.

Brave, desperate, knows how to protect a friend, strong, resourceful - p.57.

He does not spare his life for the sake of a friend, he is determined, fearless, tenacious, hardy - p.58.

Trusting, humane, vulnerable – p.59.

Kind, brave, fair, strong, smart, courageous, brings happiness to others - p.60.

Teacher: How did Nils’ character change during the journey? I will name the qualities inherent in Nils before the journey, and you name the qualities that the hero acquired during the journey.

Was - became:
Absent-minded - attentive.
A bully is fair.
Impatient - hardy.
Lonely - made many friends.
A liar is truthful.
Lazy is hardworking.
Bully is a protector, a friend.
Ruthless - humane.
Selfish - generous.
Cowardly - brave.
Offender, heartless – defender of the weak, brave.
Nasty, proud - brings happiness to others.

Teacher: It turns out that we see two completely different people. Why has Nils changed so much?

Children: Gained wisdom, life experience during the trip. The formation of man takes place.

Teacher: Could Nils not help Martin?

Children: No, I would have died myself.

Teacher: Could he not help the wild goose?

Children: Could. After all, there was no threat to Nils’ life, but the flock had already become his family.

Teacher: Why was Nils not afraid to chase the fox, who was many times larger than him and could crush him with one swing of his powerful paw?

Children: He was overcome by a fit of courage.

Teacher: Why did the boy need to save the goose if he had previously teased the animals and thrown stones at them?

Children: The geese became his family, his relatives in his current situation, he fell in love with them. Teacher: In the old days, when a Russian man asked a girl to marry, he told her: “I love you more than myself.”

So Nils forgot about the danger that threatens him own life, when he saved the goose, he loved and pitied the goose more than himself. (words by L.N. Tolstoy)

Is it a coincidence that Selma Lagerlöf causes Nils to enter another dimension and begin to understand the language of animals?

Teacher: Find lines on p. 60 that support the idea that nature is in danger.

Children: “You are the first person from whom we have seen good...”

Teacher: Just think about these words, children! The future of the planet is in your hands.

Know that the progress of civilization is paid for by the loss of nature: dull wastelands are replaced by shady forests, deserts are encroaching on fields, many thousands of rivers and lakes have been poisoned, hundreds of species of plants and animals have disappeared. It is man's duty to protect all living things. This idea was expressed at the beginning of the twentieth century by the remarkable physician and philosopher Albert Schweitzer, who built a hospital in Africa. Not only people, but also sick animals found shelter in it: fallow deer, monkey, pelican. And on the doctor’s desk there was always a cup of sweet water, which the ants came to feast on.

And in our city, how do people care about nature?

Children: We preserved many areas of the forest, planted trees, flowers, fed birds and squirrels.

Teacher: Let's return to the title of the fairy tale. Remember when we said that the title very often contains the idea of ​​the work?

Why was Nils destined to travel with wild geese?

Children: He was a savage himself.

Children: Travel is life path. We all travel through life. A real miracle happened in Nils’ life. He learned from nature its simplicity and wisdom, managed to “settle in” in an unusual environment, survive in difficult situations without complaining and without shifting his troubles onto someone else’s shoulders.

– I became a person, a real person: caring, sensitive, strong.

Teacher: Why did Nils have such a difficult test?

Children: He was a loser and couldn't read books to learn from other people's mistakes.

Teacher: What is it like the main idea fairy tale by Selma Lagerlöf? What did she want to explain to readers?

Children: Every person is a person, and the main way to change life is through self-improvement.

– Selma Lagerlöf wanted people to think about what real kindness and true love are, to take care of nature, to learn from the experiences of other people, so that they themselves would not end up as travelers in a desert world, but to use this time for the benefit of nature’s blossoming.

Teacher: you must love all living things on Earth, go towards them with kindness, then they will repay you in kind.

- Was it placed correctly? fairy tale in the section “How difficult is it to become human”?

Children: Right. After all, it shows what tests one must go through in order to become a real person: kind, caring, responsible for another person, for animals, for nature.

Teacher: And not only for loved ones, but also for those whom we may not know, but who need our help. Just like Nils among animals, so we, living among people, show our character in actions and speech, and over time we realize and understand something new.

Teacher: What did each of you think about today? Share your thoughts, feelings.

Children: We need to be more attentive to everything that surrounds us.

Teacher: We can better understand the main idea of ​​the fairy tale...

Children: When we consider the system of images and understand the characters and relationships of the heroes.

Teacher: This is what we will do in the next lesson.

Other diplomas in the subject of Pedagogy

Issues belonging to the first group may include such questions as:

1. Determine the main character traits of the hero (A. Tolstoy Shark)
2. How did Harald appear to you? Describe It (The Unknown Paradise Swedish Folk Tale)
3. Did you like the narrator? Can we call him a positive hero? (N. Nosov Mishkina porridge)
4. Does Neptune's external description match his internal world? Why do you think so? (I. Pankin Legend of Mothers)

The formation of the ability to understand the reasons for actions is facilitated by a system of questions such as:

1. What and why did mothers sacrifice for their sons? (I. Pankin Legend of Mothers)
2. Why did the father say to Kolya: Look at the portrait of the worst friend? (Dm. Mamin-Sibiryak Bad Comrade)
3. Think about why the old artilleryman fell and covered his face with his hands? (L. Tolstoy Shark)
4. Why did Vasya want to be a brute, a grated roll, a shot sparrow? (Yu. Koval Mustache and piglets)

And the third group of questions includes questions of such a nature as:

1. Did your attitude towards the hero of the story change as you read? Why? (S. Wolf I won’t forget him)
2. When did you worry? When were you happy? (N. Garin-Mikhailovsky Theme and Bug).

The next parameter by which the textbook was analyzed was the analysis of the topics of assignments for independent work. Examples of such tasks are:

1. Tell us what kind of drawings you would make for the fairy tale (Uncourteous Son. Belarusian folk tale).

2. Compose a description of Nils based on the passage you read.

1. Appearance;
2. Character traits;
3. Nils' actions;
4. The mutual connection between the character of the hero and his actions;
5. Your attitude towards the hero (Selma Lagerlöf Forest Dwarf)

3. Write a letter that Nils could send to his mother from his trip (Selma Lagerlöf the Forest Gnome).

4. Choose definitions for the word mother (I. Pankin The Legend of Mothers).

6. What proverbs would you use to characterize the hero? (Dm. Mamin-Sibiryak Bad Comrade).

7. Retell the story on behalf of the hero (Dm. Mamin-Sibiryak Bad Comrade).

8.Make drawings for each part. Sign with words from the text and make a filmstrip (Y. Koval Mustache and piglets).

9. Come up with your own story that could happen to Pippi (Astrid Lindgren How Pippi settled in the Chicken villa).

10. Come up with your own version of the continuation of the story. What new heroes will appear in it? What will they do? (E. Uspensky Fur Boarding School opens).

So, based on the above, it is not difficult to notice that the textbook for reading in the 3rd grade contains a small number of creative tasks, tasks for independent work (about ten), which can help develop the skills of understanding another person in younger schoolchildren. In addition, it should be noted that these tasks are unevenly distributed across lessons. The textbook is dominated by texts that are devoid of creative tasks (Unknown Paradise is a Swedish folk tale, The Tale of the Priest and His Worker Balda by A.S. Pushkin, Mishkina Porridge by N. Nosov, Topsy-Turvy by V. Dragunsky, Shark by L. Tolstoy, etc. ), as a result of which it is impossible to talk about the thematic development of skills of understanding another person by primary schoolchildren. Thus, we can draw the following conclusion: a textbook on literary reading for the 3rd grade contains an insufficient number of works of art rich in human knowledge, and, accordingly, a poorly developed system of questions, creative tasks and tasks for independent work. An exception is the fairy tale by Selma Lagerlöf, The Forest Gnome, which offers a more extensive list of questions and creative tasks aimed at clarifying the emotional state, motives of the hero’s behavior, and assessing his actions. These are questions such as:

1. Did you feel the writer’s attitude towards her hero? What is it like?
2. What was Nils like before the incident?
3. What actions of the boy indicate his cruelty?
4. Did Nils regret his evil actions?
5. Can we say that Nils was lazy?
6. Determine the main character traits of the hero.
7. How did Nils feel after turning into a little man?

The following tasks are offered for independent work:

1. Write a characterization of Nils based on the passage you read.

1. Appearance.
2. Character traits.
3. Nils' actions.
4. The mutual connection between the character of the hero and his actions.
5. Your attitude towards the hero.

2. Write a letter that Nils could send to his mother from the trip.

Formation of skills of understanding another person in the humanitarian cycle primary school

To see what is common to one or another literary type, and what is special and unique that distinguishes them from each other.

Emotionality is the emergence of empathy, which appears in the main forms: sympathy and empathy. This is the ability to put yourself on another's place, to see him with my eyes then, what happens to him, to feel the need for the well-being of another.

Subjectivity is a reflection of an object as a value, which is based on, on the one hand, deep penetration into the image, and on the other, the formation of a certain attitude towards it.

Aesthetic informativeness - the ability to perceive specific features writer's style, his personality, the intonation of his works.

Thus, having analyzed the above parameters of perception of a person depicted in a work of art, we can say that they presuppose that students have a certain system of skills. The latter, in turn, provides access to understanding the complexity of the human personality, the ways of its self-expression: the uniqueness of each and at the same time the commonality that allows us to consider the artistic image as a way of exploring life.

By reading a work of art, an individual not only enriches his knowledge and ideas about a person, but also reflects, experiences, and analyzes the goals and motives of the actions of the acting characters.

In the process of research conducted by L.N. Rozhina, it was found that a deeper comprehension of the characters of literary heroes includes comprehension and discovery for oneself:

Their beliefs and ideals;

Needs and interests;

Attitudes to various people, events;

Life values;

Character trait;

Features of the emotional state;

Levels of aspiration;

Habits, traditions;

Imitations.

Thus, by revealing the complexity of motives, revealing their dynamics, connection with personality development, and comprehending their meaning, the student reader significantly enriches his experience of self-knowledge and knowledge of important aspects of the spiritual world of man.

Fiction, revealing the complexity of a person’s mental life, enriches the reader with knowledge of the infinitely diverse world of his experiences, which entails the emergence of various kinds of emotions. P.I. Dodonov proposed the following classification of emotions that arise not only in literature lessons, but also in the process of independent reading.

The list of named emotions includes:

1. Altruistic emotions - arise in the process of perceiving an artistic description of the actions of a literary character, showing his kind attitude towards others, sensitivity, responsiveness, friendliness, caring, pity.

2. Commutative emotions - arise on the basis of the need for communication, which entails the acquisition of a desire to “communicate” with such interesting, diverse and dissimilar literary characters.

3. Practical emotions – associated with the desire to achieve good results; enjoying the process of work itself, discovering something new, previously unknown.

4. Gnostic emotions - manifested in the desire to understand different interpretations and assessments of the same work; desire to develop your own point of view; the emergence of a feeling of admiration for the creative individuality of the writer; surprise at the complexity of problems.

5. Aesthetic feelings - include not only enjoyment of the beauty of a poem or a fragment of prose, but also a state of “purification”, “exaltation”, “transformation”, admiration for the harmony of “magical sounds, feelings and souls”, a sense of graceful, subtle, beautiful.

6. Lyrical emotions - associated with the use of metaphorical comparisons, as well as rather rare epithets.

7. Gloristic emotions - associated with the need for self-affirmation and glory, where the main place is occupied by a feeling of satisfaction that arises as a result of awareness of one’s personal growth, a change in the role and place previously occupied among classmates.

8. Hedonic emotions - satisfying the need for bodily and mental comfort.

So, based on this classification, we can conclude that fiction is a source of a wide variety of feelings. This enables a person to live a full-blooded spiritual life.

Thus, relying on scientific knowledge and research, in particular by L.N. Rozhina, the author of the thesis highlights the main aspects of the perception of the artistic image by schoolchildren. For this purpose, such a new concept as artistic perception was introduced into the work - the process of psychological cognition of a person in the conditions of perception of his artistic image. An analysis of L.N. Rozhina’s research made it possible to say that the purposeful development of artistic perception contributes to the development of social-perceptual abilities, which are considered by psychologists (V.A. Labunskaya, S.V. Kondratyeva, etc.) as the ability to understand the mental states of another, to decipher the complex psychological subtext of his various actions and deeds, to identify in them the qualities of a person, the motives of his behavior, to evaluate his relationships with others.

III. CHAPTER 2. Operational means of developing skills of understanding another person by primary schoolchildren

2.1 Textbooks on literary reading as a means of developing the skills of understanding other people in younger schoolchildren

Outlining ways to improve primary education, N.K. Krupskaya wrote: “We talk a lot to the school about observations of natural phenomena, social phenomena, but we do not pay due attention to observations of living people, their relationships. And yet they are of great importance." Our analysis of psychological and pedagogical literature confirms the validity of N.K. Krupskaya’s idea that already in primary education, students must move from the unintentional perception of other people to the purposeful activity of observing the inner world of another person.

However, the internal analysis of this study was the analysis of textbooks on literary reading for grades 3 and 4 of a comprehensive school with Russian as the language of instruction. The analysis was carried out according to the following parameters:

Identification of texts representing the emotional state of a person in various life situations;

Analysis of questions to these texts from the point of view of the focus on observing the state of another, on the development of the student’s empathic and reflective abilities;

Analysis of the topics of creative tasks, tasks for independent work, requiring an explanation of the reasons for the behavior of another.

So, analyzing the 3rd grade textbook, it should be noted that all literary works intended for reading are grouped into 5 sections:

Gold, gold is a popular word...

The line does not fade over the centuries...

I'll tell you about what I saw and heard...

I have been friends with rhyme since childhood...

My friend, I dedicate the best time to you.

Each of these sections contains fairy tales, stories and essays that tell about people and represent their emotional states in various life situations.

So, for example, such tales as “The Uncourteous Son”, “Paradise Unknown”, “The Tale of the Priest and His Worker Balda” by A.S. Pushkin, “The Forest Dwarf” by Selma Lagerlöf, “The Legend of Mothers” by Ivan Pankin; stories - “Mishkina Porridge” by N. Nosov, “Topsy-Turvy” by V. Dragunsky, “I Will Not Forget Him a Century” by S. Wolf, “Bad Comrade” by Dm. Mamin-Sibiryak, “Theme and the Bug” by N. Garin-Mikhailovsky, “Shark”, “Scholar’s ​​Son”, “The Man and the Merman” by L. Tolstoy, “Mustache and Piglets” by B. Zakhoder, “How Pippi settled in the villa “Chicken”” by A. Lingren.

Acquaintance with the above works confirms our previously noted idea that with the help of a work of art you can learn everything about a person: complete harmony between the world and the individual, merging with nature, the happiness of love and discovery, or, conversely, discord with the world, disharmony of the soul. In addition, the individual not only enriches his knowledge and ideas about a person, but also reflects, worries, and analyzes the goals and motives of the actions of the acting characters.

However, here the question arises about whether these works are enough to form in younger schoolchildren an orientation towards others, a desire to recognize the characters and actions of people. For this purpose, the author carried out a quantitative processing of the content of the textbook. During which it was found that texts representing a person in various life situations make up only 17% of the total content of the book, while stories of a scientific-educational nature and texts about nature make up 83% of the works of art presented in the textbook.

The author of the work also analyzed the questions posed to these texts. It turned out that methodologists paid insufficient attention to this area, since the system of questions for each text aimed at clarifying the emotional state, motives of a person’s behavior, and assessing his actions includes, as a rule, only 1-2 questions. The table below makes it possible to observe this situation using specific examples.

Table 1.

So, comparing the content of the texts listed in the table with the questions posed to them, it should be noted that these works of art are rich in human history knowledge, but the proposed questions do not allow younger schoolchildren to master them. A more complete analysis of the content of the above questions enabled the author of the work to conditionally divide them into three groups. These are the questions that form:

the ability to evaluate a hero;

the ability to understand the reasons for the characters’ actions;

the ability to determine the consequences of characters' actions.

Examples of questions belonging to the first group include questions such as:

Determine the main character traits of the hero (A. Tolstoy “Shark”)

How did Harald appear to you? Describe it (“Unknown Paradise” Swedish folk tale)

Did you like the narrator? Can we call him a positive hero? (N. Nosov “Mishkina porridge”)

Does Neptune's external description match his internal world? Why do you think so? (I. Pankin “The Legend of Mothers”)

The formation of the ability to understand the reasons for actions is facilitated by a system of questions such as:

What and why did mothers sacrifice for their sons? (I. Pankin “The Legend of Mothers”)

Why did the father say to Kolya: “Look at the portrait of the worst friend?” (Dm. Mamin-Sibiryak “Bad Comrade”)

Think about why the old artilleryman fell and covered his face with his hands? (L. Tolstoy “Shark”)

Why did Vasya want to be a brute, a grated roll, a shot sparrow? (Yu. Koval “Mustache and Piglets”)

And the third group of questions includes questions of such a nature as:

Did your attitude towards the hero of the story change as you read? Why? (S. Wolf “I will never forget him”)

When did you worry? When were you happy? (N. Garin-Mikhailovsky “Theme and the Bug”).

The next parameter by which the textbook was analyzed was the analysis of the topics of assignments for independent work. Examples of such tasks are:

1. Tell us what kind of drawings you would make for the fairy tale (“The Discourteous Son.” Belarusian folk tale).

2. Compose a description of Nils based on the passage you read.

Appearance;

Character traits;

Nils' actions;

The mutual connection between the character of the hero and his actions;

Your attitude towards the hero (Selma Lagerlöf “Forest Dwarf”)

3. Write a letter that Nils could send to his mother from his trip (Selma Lagerlöf “The Forest Gnome”).

4. Choose definitions for the word mother (I. Pankin “The Legend of Mothers”).

6. What proverbs would you use to characterize the hero? (Dm. Mamin-Sibiryak “Bad Comrade”).

7. Retell the story on behalf of the hero (Dm. Mamin-Sibiryak “Bad Comrade”).

8.Make drawings for each part. Sign with words from the text and make a filmstrip (Yu. Koval “Mustache and Piglets”).

9. Come up with your own story that could happen to Pippi (Astrid Lindgren “How Pippi settled in the Chicken Villa”).

10. Come up with your own version of the continuation of the story. What new heroes will appear in it? What will they do? (E. Uspensky “The fur boarding school opens”).

So, based on the above, it is not difficult to notice that the textbook for reading in the 3rd grade contains a small number of creative tasks, tasks for independent work (about ten), which can help develop the skills of understanding another person in younger schoolchildren. In addition, it should be noted that these tasks are unevenly distributed across lessons. The textbook is dominated by texts that are devoid of creative tasks (“Paradise Unknown” is a Swedish folk tale, “The Tale of the Priest and His Worker Balda” by A.S. Pushkin, “Mishkina Porridge” by N. Nosov, “Topsy-Turvy” by V. Dragunsky , “Shark” by L. Tolstoy, etc.), as a result of which it is impossible to talk about the thematic development of skills of understanding another person by younger schoolchildren. Thus, we can draw the following conclusion: a textbook on literary reading for the 3rd grade contains an insufficient number of works of art rich in human knowledge, and, accordingly, a poorly developed system of questions, creative tasks and tasks for independent work. An exception is Selma Lagerlöf’s fairy tale “The Forest Gnome,” which offers a more extensive list of questions and creative tasks aimed at clarifying the emotional state, motives of the hero’s behavior, and assessing his actions. These are questions such as:

Did you feel the writer’s attitude towards her hero? What is it like?

What was Nils like before the incident?

What actions of the boy indicate his cruelty?

Did Nils regret his evil actions?

Can we say that Nils was lazy?

Determine the main character traits of the hero.

How did Nils feel after turning into a little man?

The following tasks are offered for independent work:

1. Write a characterization of Nils based on the passage you read.

Appearance.

Character traits.

Nils' actions.

The mutual connection between the character of the hero and his actions.

Your attitude towards the hero.

2. Write a letter that Nils could send to his mother from the trip.

Similar to the above analysis, the author of the thesis studied a textbook on literary reading for the 4th grade. As a result, it was found that the number of works of art containing human knowledge is only 10% of the total content of the textbook.

Examples of such texts are: “The Ravens of Ut-Rest” - a Norwegian legendary tale, “Boy Star” by O. Wilde, “Neither in Front nor in Black” by K. Chukovsky, “Country of Volcanic Origin” by L. Kassil, “Childhood of Nikita” by A .Tolstoy, “Birthday” by G. Skrebitsky. The system of questions aimed at identifying the emotional state of the characters and the list of creative tasks that require an explanation of the reasons for the behavior of another remain insufficiently developed, as in the previous class. To confirm this, the author of the work suggests familiarizing yourself with the table below and the content of creative tasks.

Table 2.

Creative tasks:

continue friend - this is... (Norwegian legendary tale “The Ravens of Ut-Rest”);

come up with a continuation of the fairy tale; read the fairy tale and compare your version with the author’s (O. Wilde “Star Boy”);

retell the text on behalf of Timosha (K. Chukovsky “Neither in front nor in black”);

tell us about your closest friend (K. Chukovsky “Neither in front nor in black”).

Thus, summing up all of the above, it should be noted that textbooks on literary reading for the 3rd and 4th grades contain an insufficient number of works of art rich in human knowledge. The system of questions and assignments for independent work aimed at developing the student’s empathic and reflective abilities is also insufficiently developed. It should also be noted that the volume of this material does not increase when moving from class to class, but, on the contrary, decreases. If in the textbook for the 3rd grade stories and tales about people made up 17% of the total content, then in the 4th grade this figure dropped to 10%, which, in turn, once again confirms the idea of ​​N.K. Krupskaya that that at school much attention is paid to observations of nature, and not of living people and their relationships.

2.2 Organization of targeted observation of younger schoolchildren over human characters in the educational process

Lessons in the Russian language, literary reading, and studying the course “Man and Society” make it possible to include in the didactic process the organization of deliberate observation of human characters. Methods for organizing such observations are:

tests to identify empathy abilities;

method of solving psychological and pedagogical problems;

working with a pictogram - determining a person’s state by his facial expression.

The listed methods were implemented in two 3rd and two 4th grades of secondary school No. 14 in Baranovichi. The total number of subjects was 93 people. As a first, the children were offered a test, which in psychology means a standardized psychological test, as a result of which an attempt is made to evaluate a particular mental process or personality as a whole. This test set itself the goal: to study the level of empathy (compassion), that is, the ability to put oneself in the place of another person and the ability to be voluntary emotional responsiveness to the experiences of other people. To do this, the subjects were offered 36 statements (see Appendix 1) and 6 answer options: “I don’t know,” “no, never,” “sometimes,” “often,” “almost always,” “yes, always.” Each answer option was worth a certain number of points:

Don't know - 0

No, never - 1

Sometimes -2

Almost always -4

Yes, always -5.

Before calculating the results, the level of students' frankness was checked.

To do this, statements 3, 9, 11, 13, 28, 36 should not correspond to the answer “I don’t know”, and statements 11, 13, 15, 27 should not correspond to the answer “yes”. After this, all points assigned to answers to items: 2, 5, 8, 9, 10, 12, 13, 15, 16, 19, 21, 22, 24, 25, 26, 27, 29 and 32 were summed up and the results of each students are correlated with the scale of development of empathic tendencies (see Appendix 1).

The results obtained showed that in grade 3 “B” they have (see Appendix 2):

Very high level empathy – 1 person;

The normal level of empathy is 13 people.

In 3 "A" class (see Appendix 3):

high level of empathy – 3 people;

In 4 "A" class (see Appendix 4):

high level of empathy – 7 people;

normal level of empathy – 18 people;

low level of empathy – 1 person;

In 4 “B” class (see Appendix 5):

high level of empathy – 17 people;

normal level of empathy – 7 people;

Based on the results obtained by grade, it can be noted that at primary school age there are 4 levels of empathy: very high, high, normal and low, the predominant level of empathy being the normal level. Out of 93 subjects, 56 students have this level. These are guys who cannot be called “thick-skinned,” but at the same time they are not particularly sensitive people. In interpersonal relationships, they judge others by their actions, not by their personal impressions. They are attentive in communication, they try to understand more than what is said in words, but if the interlocutor expresses their feelings excessively, they lose patience. They prefer not to express their point of view without being sure that it will be accepted. When reading works of fiction and watching films, one often follows the action rather than the experience of the characters. They do not have relaxed feelings, which interferes with the full perception of people.

The total number of subjects with a high level of empathy is 34 people. These are guys who are sensitive to the needs and problems of others, generous, and inclined to forgive them a lot. They treat people with genuine interest. They like to “read” their faces and “look into” their future. They are emotionally responsive, sociable, quickly establish contact and find a common language. Such guys try to avoid conflict and find compromise solutions. At the center of events, they trust their feelings and intuition more than conclusions. They prefer to work with people rather than alone.

The results obtained showed that among younger schoolchildren there are children with a very high level of empathy. However, their number is completely insignificant: 1 in 93 subjects. These are guys with painfully developed empathy. In communication, they subtly react to the mood of the interlocutor, who has not yet had time to say a word. They feel bad surrounded by “difficult” people. They often experience a guilt complex for fear of causing trouble to people. Concern for family and friends does not leave them. Very vulnerable. They may suffer at the sight of a crippled animal.

A small number of subjects (2 people) have and low level empathy. These guys have difficulty establishing contacts with people and feel uncomfortable in noisy company. Emotional manifestations in the actions of others sometimes seem incomprehensible and meaningless to them. They prefer solitary pursuits of a specific task rather than working with people.

Thus, the test results make it possible to talk about the immaturity of the ability to put oneself in the place of another person and the ability for arbitrary emotional responsiveness to the experiences of other people in 62% of subjects.

The next method of organizing deliberate observation of people is the method of solving psychological and pedagogical problems. The plot of the tasks was chosen to be close to the experience of younger schoolchildren and take place in real life and therefore convincing and interesting for students.

As a rule, these were publications in periodicals. The questions proposed for these tasks took into account the mechanisms of causal attribution and identification.

Causal attribution is a causal explanation of the actions of another person by attributing to him feelings, intentions, and motives of behavior.

Identification is a conscious or unconscious likening of oneself to another person.

When analyzing the results of solving psychological and pedagogical problems, we note the ability to record little noticeable, but psychologically significant details in human behavior. The content of the tasks is as follows:

We had laundry drying in our yard. One of the boys cut the rope with a knife, and the clean laundry fell into the puddle. Everyone laughed and ran away.

Question: why did the boy do this? What would you do if you were in the company of these guys?

The newspaper “Banner of Youth” received the following letter: “During the war, I drove trains on the front line, and worked as a miner for many years. In recent years, he became seriously ill. Doctors advised me to drink a decoction of pumpkin, which I began to grow on my plot. When I went out in the morning, I admired the yellow bells, but yesterday I came out and saw that all the pumpkins had been trampled, and there were traces of children’s feet on the wet ground.”

Question: why did they do this?

Let us present the results of the analysis of problem 1.

Analyzing students' opinions about the first situation, several answer options were noted. Among them: “for fun”, “he did it out of spite”, “because the boy is mischievous and ill-mannered”, “because he keeps with bad company”, “I don’t know” (see Appendix 6). Moreover, 47% of the subjects experienced difficulty and, therefore, answered “I don’t know.” After a short discussion of the first task, the children were offered task 2. Let us present the results of the analysis of the second task. As in the first case, there are several possible answers: “they wanted him to die”, “because they didn’t like the pumpkin flowers”, “they didn’t want him to recover”, “they were ruthless”, “the children did it by accident ", "because children do not respect elders", "I don’t know" (see Appendix 6). In this situation, 38% of subjects found it difficult to answer the question. If we compare the data obtained from the first and second tasks, we can notice a significant decrease in the number of children who failed to complete the task. This suggests that systematic work with students is necessary to develop their ability to evaluate the behavior of others and understand the reasons for this or that action.

Working with pictograms is also a method of organizing deliberate observation—determining a person’s state by his facial expression.

The children were offered images of eight faces in various emotional states (see Appendix 7). The subjects' task was to correctly identify the condition. Moreover, for each correct answer one point was awarded and as a result the class was divided into three groups:

7-8 points– a high level of development of the ability to determine a person’s state by his facial expression.

4-6 points- average level

0-3 points- low level

Processing of the results showed that in grade 3 “B” they have (see Appendix 8):

high level – 0 people

average level – 15 people

low level – 6 people

In 3 "A" class they have (see Appendix 9):

high level – 0 people

average level – 17 people

low level – 5 people

In 4 “B” class they have (see Appendix 10):

high level – 2 people

average level – 21 people

low level – 1 person

In 4 “A” class they have (see Appendix 11):

high level – 1 person

average level – 16 people

low level – 9 people

Thus, the total number of subjects having:

high level – 3 people

average level – 69 people

low level – 21 people

So, based on our research, we can say that primary school students have an average level of development of skills to understand another person, the ability to determine his emotional state, motives of behavior and the ability to be voluntary emotional responsiveness to the experiences of other people. And since empathy contributes to the balance of interpersonal relationships and makes human behavior socially conditioned, it is therefore considered an important quality for students. This means, as V.A. Sukhomlinsky noted, “a teacher should start with the elementary, but at the same time the most difficult - with the formation of the ability to sense the mental state of another person, to be able to put himself in the place of another in a variety of situations.” And further: “He who is deaf to other people will remain deaf to himself: the most important thing in self-education will be inaccessible to him - the emotional assessment of his own actions.”

2.3 Development of a junior schoolchild as a subject of knowledge of other people in extracurricular activities

Work on developing younger schoolchildren as subjects of knowledge of other people should continue in extracurricular activities. The following directions are possible:

the use of training to develop observation skills in relation to another person;

work to ensure a more complete perception of the positive qualities of fellow students, especially those in an isolated position, having an extremely limited circle of contacts in the class.

There are a number of methods for developing in younger schoolchildren an orientation towards another person, without which a complete perception of his appearance is impossible. The following exercises are used in best pedagogical practice:

1. "Smile".

To acquaint training participants with the variety of meanings encoded in the artistic description of a smile. Then work to expand the thesaurus of concepts used to designate ES expressed in a person’s smile: joyful, sweet, trusting, tortured, wooden, carefree, pitiful, humiliated; a smile of joy and pain, frontal, triumphant, victorious, contemptuous, touching, affectionate, shy, blessed, friendly, cheerful, bright, etc.

Then move on to more complex exercises:

using existing thesaurus of concepts, the training participants are invited to show a smile:

Sad

Gorkaya

Blessed

Meek

A smile of tenderness

Delight, etc.;

compose a psychological score for describing smiles actually depicted by the training participants themselves.

"Eyes. Sight".

The lesson follows approximately the same scenario as the previous one. Additionally, you can offer homework:

observe the change in the expression of a person’s eyes (smile) and compile a score of his ES;

identify and describe the ES of the characters in the TV show (even better, one of the characters in the TV movie);

make sketches of your own ES expressed in non-verbal behavior;

select literary and artistic examples of ES expressed through the description of various elements of external expression.

3. “Gestures. Pose".

The technique for performing this exercise is identical to the previous ones. Additionally, the same homework assignments are offered, but with the task of revealing the indicative capabilities of all the named elements of external expression. It is possible to use reproductions of portraiture, illustrations for works of art, photographs, analysis of memoirs, biographical and epistolary literature.

Using numerous terms and concepts denoting the emotional characteristics of human voices, first enrich the thesaurus of relevant concepts, and then develop the ability to adequately read the corresponding ES expressed in the sounds of the voice. For homework, children are asked to:

compile a dictionary of epithets and metaphors that reveal the psychological meaning of intonation;

select literary texts with appropriate indicative capabilities;

5. "Mood".

Instructions: Now you will receive printed lines and stanzas of poems that express a certain mood. Which ones are closest to you? What experiences have you never experienced, but would like to experience? (See Appendix 12) How did each of you feel? How did the other group members feel? Which poems resonated particularly strongly with you? Why do you think? Is it possible to convey the state in color? Depict in movement, gesture, facial expressions? Try this.

6. "Visualization".

Instructions: listen together to fragments of various literary texts recorded on a tape recorder. Try not only to imagine what you heard, but also to experience those feelings, the mood that the author “dictates” to us.

7. "Free dance"

This exercise develops empathy, the ability to penetrate into the world of other people’s feelings, and provides the opportunity for a deeper awareness of one’s own inner world and understanding of the spiritual life of other people.

The main thing here is not the level of dance performance, but the ability to express emotions through movements.

8. Painting (photography).

By performing this exercise, you can identify with a painting or photograph hanging in the room: after playing out its plot, imagine the emotional state of the people depicted and enter the world of their experiences. You can write a story, parable, poetry.

9. "Present".

Relax, try to remember the gifts given to you by fate. These could be people, objects, events, etc. What feelings did you experience when life gave you these gifts? What are you experiencing now, remembering them?

10. "Family album".

The essence of communication and its tactics. Positions: benevolence - hostility, dominance - submission. Communication as people's perception of each other. Three levels of empathy development. Processes of causal attribution and their patterns. Feedback rules.

The concept of attraction as a process of mutual attraction of people to each other, the mechanism for the formation of its techniques. Psychophysiological nature of perception appearance person. Features of interpersonal perception and understanding of a person in the process of communication.

Introduction. In human relationships, in understanding how an individual influences a group and a group influences an individual, people’s perception and understanding of each other is important. It is always present in people’s contacts and is as natural for them as the satisfaction of everyday needs...

Communication as a multifaceted process of developing contacts between people, generated by needs joint activities. Functions of communication and their characteristics. Barriers as factors that interfere with communication. Possible ways and methods of overcoming communication barriers.

The positive impact of community on the individual. Bad influence groups per person. Falling into a trap. Etiquette of the situation. Extenuating circumstances. Supervision. People's perception and understanding of each other. The well-being of the individual in the group.

Social perception is a socio-psychological aspect of interaction, the study of its structure and mechanisms. The interaction of people with each other through the perceptual side of communication. Content and effects of interpersonal perception, interpersonal attraction.

General concepts about forming a first impression of a person. The role of human appearance and behavior. Factors that influence the formation of first impressions. The role of nonverbal communication. Facial expressions. Human body movements, postures and gestures.

Study of the level of emotional regulation of behavior in children with visual impairments using elements of a biogame. Cognitive component in children with hearing impairments. Study of the relationship between underdevelopment of imagination in children and underdevelopment of speech.

Forming a first impression. Factors in superiority, partner attractiveness, and attitude toward the observer. The first impression as a result of analytical and synthetic activities carried out working together. Research on causal attribution.

Human perception, a holistic reflection of perception in sensory, temporal and spatial connections and relationships. Mechanisms of people’s perception and understanding of each other. Age and professional features, formation of concepts about human personality.